May 14, 2021 • 32 mins
We cover a lot of topics in this last Aftershow of Season One — we revisit the premise for the show, the role of the Sideman vs Frontman, the massive success that Spike and others have had as Sidemen — and why Brian chose the path he did. We talk about why its okay to “fake it till you make it” in the music business and what you do when a vital instrument like the keyboard goes out during a show. We also chat about the FORCE that was Freddy Mercury and the longevity of his music, now being sung famously by Adam Lambert. Finally, we hit the downside of fame when it comes to papparazzi and press, what really happens in that lag between sound check and show time… And we give you a behind the scenes peak into the making of this show with a clip from the cutting room floor from Spike’s interview.
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Episode Transcript
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Speaker 1 (00:11):
You're listening to the After Show, the bonus episode series
for On Tour with Brian Ray. This is a production
of I Heart Radio and Black Barrel Media and I'm
your host Mandy Wimmer. In the after show, we dive
a little deeper into Brian's thoughts about certain parts of
the interviews, as well as expound a bit more on
his own experiences on tour. We cover a lot of
(00:32):
topics in this last after show of season one. We
revisit the premise of the show, the role of the
sideman versus frontman and the massive success that Spike and
others have had as sideman, and why Brian chose the
path he did. We talk about why it's okay to
fake it till you make it in the music business,
and what you do when a vital instrument like the
(00:53):
keyboard goes out during a show. We also chat about
the force that was Freddie Mercury and the longevity of
his music now being sung famously by Adam Lambert. Finally,
we hit the downside of fame when it comes to
paparazzi impress what really happens in the lag time between
sound check and showtime, and we gave you a behind
the scenes peek into the making of this show with
(01:15):
a clip from the cutting room floor from Spike's interview,
here's my conversation with Brian Right, Brian, how are you
this morning? Good many? How are you? Oh, I'm a
little bit sad this is our last episode of season one. Know,
(01:40):
it's like gone in a flash. That's crazy, so crazy.
It's been so fun. I can't believe we're already wrapping
up season Are you crying a little bit? There's one
tier for those of you out there don't believe it.
One tier is right crossing Well, so I feel like
(02:00):
it's very appropriate and I think it's good that Spike
let us into this that in this last after show
interview of season one, we talk about how this show
really got started, and that was the concept of the Sideman,
which was, you know, a concept that you had for
a show many many years ago. We all decided to
turn it into a podcast, and now we're not only
(02:21):
interviewing sidemen, we're also interviewing Frontman. We've got a number
of people on our list to interview for upcoming seasons.
There'll be a variety of people in season two. But
we really started with sidemen for season one because that
was the initial concept of the show. And I want
to talk about that for a second, because Spike set
out to be a lead, you know, and I think
there probably a lot of people set out with that
(02:41):
dream in mind. When you decided to be a musician.
You think I'm gonna be running the show, and sometimes
that just doesn't happen and you end up as a sideman.
But a sideman can have such an amazing career. And
so I want to talk about that a little bit
because you've got a lot of experience in this area. Yeah,
I sure do. Yeah, thanks, Well, I don't know. I
guess that, uh as is the case with Spike. I
(03:05):
started off by being enamored with stars like they happened
to be front men and women who were at the
front of the stage whose photos were seeing. It was
you know, Elvis, it was Chuck Barry, it was Little Richard,
you know Everly Brothers, it was Buddy Holly as all
these guys you know, and girls and you know, want
to Jackson and Edta James and you'd see these beautifully
(03:28):
done Hollywood photos and then you'd see him on its
solvent and be like, oh my God, this is so fun.
It's like so much energy around it. So yeah, you
also appreciated like Scotty Moore on guitar or Bill Black
or whatever over there, you know, but it is the
center focus for any of us, the inspiration that got
(03:51):
us started. So I mean, in my case, yeah, that
was my focus. I mean I foolishly wanted to be
a rolling Stone or abeat. You know, I was like,
I didn't admit that out loud, but I kind of
acted like I wanted that, and um, it just so
happened that, you know, to get to a place where
you would even have that freedom, you want some experience
(04:12):
under your belt. And in my case, I was able
to get that early and often with with you know,
Bobby Boris Pickett doing the Monster Match before that, and
then many things during Edda and after. But in my case,
there was a point at which I had had a
big hit record with Smokey Robinson right kind of made
(04:33):
it co wrote on the radio my arrangement, my song,
here's my song, there's my name on the radio, and uh,
Edda had been going now for four fifteen years, and
I wanted to do my own things. So I started
a band and I started playing all the local clubs
in l A, really enjoying it, having a great time.
(04:55):
But I wasn't all that ready. I wasn't all that confident,
and it was a little bit maybe it's more nervous
than it would make me to play with Eda. So
I ended up not feeling like that was my calling.
So I went back. I went back to being a sideman.
I worked with Rita Coolidge and Willie Deville and then
(05:15):
you know, Johnny Halliday and all that stuff. Well, only
after some time with Paul did I start feeling like
I didn't have anything left to prove exactly got it?
I really didn't, you know. I wasn't gonna live or
die on my solo career. It was something I could
do for fun and for free, to enjoy it, and
(05:38):
that took all the pressure off to have to perform.
And I'm super grateful to Paul of course, for giving
me sort of like a reason not to care about about,
you know, what people thought anymore, because I had proven
myself with him. Right, So, and then you went on
to you currently have a solo career, you're the frontman
for the Bayonets, and so really right there, right, yeah,
(06:01):
and had a great time doing it because there's nothing
really on the line. When you're younger and you're trying,
you know, your best to be a front person to
get accepted by the industry or by people, it's a
lot of pressure. I don't I literally don't give a
funk about that kind of about that kind of uh
you know, um approval anymore. Right, So, so the lesson
(06:25):
learned is take the pressure off, let the chips fall
where they may. That's right. Well, other people don't feel
the pressure the way I did. You know, they're just
born to be frontman. They're you know, in front women
who are just very sort of gregarious. But I think
a lot of people do feel that pressure. I mean
they want to be that front man, even to be
a side man. I think people feel that pressure. And
(06:46):
we talked to Leroy Bennett, who's an insane producer, but
he straight up said in the beginning of his interview
that he learned early on that he had massive stage fright.
Everyone and his family were performers. He wanted to be
a performer but realized he couldn't, and so his way
to perform was with lights and design. You know, still
be in the business, So you know, I do, I
(07:07):
do think that people probably feel that pressure. So very
very interesting story. Yeah, no, very very cool. Well you've
certainly had a great career. Yeah, fortunate and uh yeah,
fortunate and busy. Yeah, exactly exactly. So another thing that
a little bit piggybacking off of that, Spike really talks
about how he doesn't use these words, but I'll use
(07:28):
these words. You need to fake it till you make it.
You know. He had a couple of really interesting stories
that were pivotabal pivotal points in his career where he
said yes to things that he was not ready for.
He was absolutely he go he walks into the string
Fellows club wanting to be a bartender or a buzz boy,
(07:48):
and he ends up playing jazz piano, which he has
no idea how to play, and that then leads to queen.
I mean, it's that's I guess my lesson learned here
and probably everyone out there just just do it. Just
say yes, you know, just say yes and figure it out.
I know I've certainly done that with a couple of
jobs in my life. But you know, what's the worst
(08:09):
that can happen? You get you can't do it you
get fired and you tried. You know, it's so fascinating
that you would just quote that, and not that it's
a very obscure phrase, but just say yes was the
basis of some guitar clinic stuff that I did like
twelve years ago. The whole thing was based on just
say yes. And and then I got some feedback from
somebody who said, well, no is very very important, and
(08:32):
it's very powerful to say no to things, you know,
or you'll just you know, delute your yourself. And I said, yeah,
but you've got to get into a position of power
and authority to be able to say no. So my
thing was to say yes to every possible potential um,
you know, opportunity and uh. And you know, I think
(08:54):
that for me, it's sort of like you have to
make a good bluff and then your bluff good, you know,
like every every one of the opportunities that I've been
so lucky to have in my life with Edda, with uh,
you know, Paul, with Rida Coolidge, all those started on
the most strange circumstances like, for instance, read a Coolidge
(09:18):
a sixty dollar blues gig playing four sets at a
little club in the Valley you want to do it
or not, And and the drummer happened to be uh
read a Coolidge just band leader and a guitar player
couldn't make the next gig. Would I like to come
in sub for that guitar player? And I said yes,
(09:41):
And then it turned into four years with her traveling
all over the world. So that's that's sort of the
basis of so many of these careers. And Spike is
like that as well, you know. Well, and he wasn't
even ready to play for Queen. He didn't know a
single Queen song exactly, I mean, and he just what
he thought he was going to an audition, completely unprepared,
and obviously it's best to be prepared. And he even
(10:03):
talks about that how bands really like it when you
actually know their music because there's less to learn. But
you know, he wasn't prepared, and he went anyway. He
was ready to sit in a room with two people
and bluff his way through it and just try at least.
And here he's been with Queen for thirty seven years.
(10:29):
And then he talks about how the piano was such
a big instrument in the band Queen, and they did
not have a backup piano for him until this recent tour,
something goes wrong with his piano, the show is dark
for nine and a half minutes. I mean, what what
would you possibly do for nine and a half minutes.
(10:50):
I mean, my my mind immediately goes to if a
band doesn't come back on for an encore after forty
five seconds, everyone's bailing, right, you know. So, I mean
maybe people wouldn't you that in the middle of a show,
but nine and a half minutes that's extremely long time.
I mean, I can't even imagine being on hold for
nine and a half minutes. Well, so, in his case,
he's playing keyboard, which is a distinction from piano in
(11:13):
that on keyboard he can play, as we were saying
in the interview, a multitude of instruments, whereas piano was
really was um Freddie's instrument, whereas his, uh, the keyboard
is very very important to all these songs because on
that keyboard he'll have some percussion bits. He might have
a background vocal hero there that he triggers by playing
(11:34):
the keyboard, the synthesizer, or he might have strings or horns,
and people may not understand what are you doing up there?
What's that second thing for up there? In in our case,
Wicks Wickens plays keyboard and um on that keyboard, he
can also play the piano instrument. It sounds like a piano,
but it's played on the keyboard. So in any in
(11:56):
any case, what do you do when the keyboard goes out? Well,
I mean it's a big deal. And in the case
of Queen, they have a bunch of songs that they
could just the lead singer could call what they call
call in audible. He would tell the monitor guy or
somebody privately, call someone up on stage and he would
(12:16):
spread the word over the system that we're jumping to
a different song. And everyone who has is involved in
the tour, video, lights, screens, texts, every everyone's moving, everyone's
on a headset, there are departments. Everyone's on a headset.
And that's how it works. But it starts with word
(12:38):
of mouth from the artist. It would be Freddie or
our case, Paul would spread the word call in audible.
We jumped to a song that doesn't require all that
intense keyboard or and then during that song, Wicks or
Spike or over there freaking out with their you know, tech,
trying to figure out what went wrong. And in Spike's case,
(13:01):
you know, he uh found that weakness in production before
there was a need. Thank god. In our case, we
we've addressed it as well. Right, Well, that's the thing.
It's like, just address it and be ready and when
you have a plan B typically you don't need to
use it. As Spike talks about, So Freddie. So Freddie Mercury,
I mean he is, you know, and an icon. Of
(13:23):
course I didn't know Freddie. I mean he died, I
believe when I when I was very young, if I recall.
But clearly everybody who loves music knows who Freddie Mercury
is or whether he had passed before you are alive
or not. And that's an interesting thing that Spike talks about,
is that this wasn't where I was going with us,
but I'm going to talk about it now that uh,
people today are filling stadiums for Freddie Mercury songs who
(13:47):
were not alive when Freddie wrote these songs that performed
these so interesting, that is so amazing how his songs
have lived on that they're still selling out stadiums. Obviously,
went from Paul Rodgers to Adam Lambert and Adam Lamberti's
huge with younger audiences. But but it's the music. I mean,
if Atta Lambert was singing horrible music, it wouldn't be huge,
(14:07):
you know. So that's just a tribute to Freddie. Yeah,
it is. It's the durability of great art, you know,
and there's we're not lacking in great art right now,
and great artists right now there are tons of them.
You may have to search a little harder to find
them because because of the dynamics of the business now,
like the business is sort of like free range. Everybody
(14:29):
has the same access to getting your attention, and that's
a very little little chance of getting your attention, So
there's a lot of people clamoring for your attention. Back then,
the labels would decide who you're going to give your
attention to. It's a different thing now. There are still
a few big labels, but there's a durability factor that, uh,
(14:52):
I don't see quite as much music that I would
project that in thirty years kids will be clamoring to
hear that's being made right now. There's something very special
about the era between the fifties and the two thousands.
Let's say that just sort of you know, people can't
get enough of it doesn't die. Yeah, I mean some
(15:14):
my my favorite musicians to this day are are much older.
We were just talking about Tom Petty. Petty is my
favorite of all time. I think he always will be.
I just watched a video by the band, and you know,
it's just it's so durable. It doesn't sound fashionable. It's
just great. Thank god, these people gave us so much
amazing music that we're never going to run out. I mean,
(15:35):
it just breaks my heart that we're not getting new
music from Tom Petty and Prince and people like that.
But I mean, thank god they left us what they
left us. But back to Freddy, I do and we
talked a little bit about this with Elton John, but
I just think this is fascinating that he is such
a massively huge personality on stage and Spike talks about
how he just sells it. I mean, he gets out
there and he's just you know, he's just like a
(15:58):
force of nature on stage, and then backstage he is
very shy, very reserved, and leads the band in trivial
pursuit after parties. I mean, that's so cute how they
just get everybody together the band, the crew, everyone in there.
You know, Okay, let's finish the trivial pursuit party from
last night, after the last show. You know, like that's
(16:20):
what he's excited about after a show. I just found
that so cute, what a fun part of his personality. Exactly. Well,
the last thing you want to do it and after
party is talk about the show. And there are some
artists that do they want to they want to sit
down and watch the videos of the show. We won't
name names. Oh we name names. Okay, Well there are
many others as well, and I won't go into those.
(16:41):
But you know, I mean, you just worked your ass
off all night long, and and it isn't easy, Okay,
it requires a lot of you. It may look like,
you know, bunnies and toadstools, but it's more than that.
It's also bunnies and toadstools, but it's anyway, it's a
(17:04):
lot of work. And when you're done with that work,
you want to change. You have a palett cleanser and
just have a laugh and do something else. And that's
play some to real pursuit and let's go and then
just you talk about that really humanizes Freddie. I mean,
a lot of people don't understand. I mean, paparazzi and
you know, magazines and and everything just you know, are
(17:26):
all over these people. And obviously, you know, there's something
to be said that when you go into that life
of being famous or kind of in that realm, that
some of that's to be expected. You open yourself up
to people being interested in your life, and that goes
with the territory. But these people are also human. And
Spike talks about how it was a magazine or a
(17:47):
newspaper in the headline was what's wrong with you Fred,
you know, when he wasn't talking about the fact that
he was really sick. It's just like, at the end
of the day, that's a human, you know, and he's dying.
Can you give him a break? Yeah? It is brutal, um,
But many say that the British press is more brutal
than anyone's press. And I hate to say that. I'd
(18:11):
hate to think that. I am not a British subject
or citizen, so I don't have direct experience being the
subject of that kind of stuff, thank god. But man alive.
They can be tough over there, and uh, you know,
we can be tough here as well, but they're particularly
nosy and cruel sometimes, and I think that he suffered
(18:32):
as a result of that. But you're right, you have
decided that you're laying your life open to a degree,
or that you're going to be a subject of curiosity.
So it's sort of like you're asking for it if
you're a front man, right, or or you know anyone
who's kind of in like the ancillary circle. I mean,
it kind of comes with the territory. But at some
point it's like, come on, like, let's remember everybody's human here.
(19:11):
I can't believe I have never thought about this, and
I have not asked you about this, but Spike brings
up a really good point when they were rehearsing with
Paul Rodgers and that that painful time between sound check
and actually doing it. You know that you you guys
have sound check mid afternoon, two or three in the afternoon,
and then you're not going on until eight thirty, you know,
(19:32):
something like that, and whatever the time is, there's four
plus hours of lag time. What are you doing? What
do you possibly do backstage? You cannot tell you. That's
a trade secret. I can't get into that. No, well,
you know, it's a good question. We we get there,
it's around four sound check, uh is done by about
(19:55):
six because then doors have to open. So there's quite
a long bit of time after sound check for the
promoter and the production to get the crowd comfortable, to
get them in in a sane sort of uh at
insane velocity, and get the place settled and everyone seated
before you want to start the show at a thirty
(20:17):
or nine. So it's a lot of work. And the
bigger the venue, the more time they need. So as
you get into a stadium and now you have sixty people,
and you're saying South America where people take their time
a little bit more getting in, I mean, it's just
general true. They they take a little bit more time
to get into a stadium. Uh. In that part of
(20:38):
the world. It's just what happens. So you end up
sound checking earlier and starting a little later, so that
lag time gets even greater. But there's stuff to do,
you know. Um, you get to relax for one thing. Uh,
and we in in our band get to go into
sort of it's like a cave. It's very dark in
their lights are down low. Our wardrobe team has made
(21:02):
a beautiful like um room out of a locker room basically,
you know, and it's really nice and they're they're so
lovely and our crew and team are just so amazing. Um.
But anyway, there's lots to do. But you'll, you'll, if
you were to dip into our dressing room before a show,
you'd see a lot of quiet, you know. Yeah. Well,
and then you also you get a chance to hang
(21:23):
with people who have come to see your show, and
you know, I've been back there with you a little bit. Yeah,
you get to actually, you know, spend a little bit
of time with people before you go on stage. And
but I mean obviously that doesn't take up all the time,
so you're you're in a lot of quiet. Well not really,
I mean it's sort of like end of end of
sound check. We would typically eat pretty quickly because you
(21:47):
want to eat, it's long before the show is possible.
Then it's the chill time. Then it's time to see
the guests, then it's time to get ready. So it's
all broken up into so it goes by pretty Yeah,
it really does. Interesting. Yeah, I know that that makes
total sense. Okay, So the encore for this interview, I
honestly think was probably one of my favorite. It was
(22:07):
an awesome OnCore to end. For episode eight of our
last episode of season one, he no story is the best,
not from him from an audition because he hasn't really
had a proper audition, but from fidelic Castro. He tries
to do a show in Cuba and he gets a
no back from fidelic Castro. I mean, come on, let's
I can't believe fidel Castro even responded, Yeah, I know,
(22:30):
it's just like no, that was the entire letter. There's
one word on it. No. God did he say he
still has that letter? I pray still has that letter.
I don't know. That's hilarious though. I love that story,
completely hysterical. And then his most embarrassing moment was when
he was playing playing keyboard. He was musical director for
(22:51):
the nel for Nelson Mandela and this huge show and
someone else is playing with him and I can't even
remember who it was. I was cracking up through this
whole story. But they were having to switch keys in
the middle of the song, and there was someone that
supposed to cue them to switch keys, and he cued
them early, and so the keyboards were then leading the
whole band in this song, so they switched to the
(23:13):
wrong key. They throw off the entire band because nobody's
ready for it, and just completely started. Then they're trying
to go back and he's like, it's just you know,
it's a tornado of ships. No, it's D not G
And they're right reading lips and they both look the
same when you say them, Oh god, hysterical. I mean,
(23:34):
have you guys ever had anything like that? Were like,
you've just played the wrong thing, and oh yeah, yeah,
we we have counted the song and three people played
it one way, and to played it a different song,
a different song, a different song they just heard or
thought a different thing. Well, let's just say one person
started a different song and you're not gonna do us anymore.
(23:57):
I can't give no, but it happens. I think that
it just proves that we're human. And when we'll have
like say a little moment like that, something like that,
Paul will say, hey, it proves we're live. It's real,
and people applaud it, and it's a funny thing. People
in the crowd actually enjoy it because they have been
(24:18):
now they've experienced an unusual, unique moment that nobody else
has had. It kind of makes you feel like family,
like you're on the inner circle. You know you saw
the mess up, Yeah, you know, like you didn't see
like the proper polished everything right, Like you kind of
saw how the sausage was made sort of a thing
a little bit. Yeah, that's that's good. Rapping up here
(24:39):
his Serbia story. They go into a war zone to
play a show and he is in Budapest and they
are supposed to get on a bus with goats and
chickens to get there, okay, and he doesn't, which I
even told him after the interview. Come on, man, like
I really wanted that visual of you guys with your
instruments on the bus with the chickens and the goats,
(25:02):
Like why can't you give me that? I know we
need footage of that. I mean, I need to prove
that that happened. But I mean it begs the question,
if you haven't written a city bus with chickens and
goats and randos, have you really paid your dues? That's
what I want answer the answers no, and then you
(25:23):
move on to you get but you think it's better
now to get in taxis with people you don't speak
the language. They're going a hundred miles an hour. They're
stopping on the side of the road to buy black
market gas, and then when you don't have enough gas,
you have to walk to a farm and stay in
a barn of some new rando, Like, what the hell's happening?
(25:44):
You know, the glory and the majesty of rock and roll. Well,
you gotta serbia somebody. That's what the phrases. Oh my god, hysterical,
It's just hysterical. Okay. So we've talked a couple of
times about these interviews go on for a very long time.
Most of these interviews are two plus hours long, and
(26:06):
we're gonna let you into a little bit of behind
the scenes of why that happens, because we get a
little distracted in these interviews and we have to bring
ourselves back on track. And so we're gonna cut in
a forty five second clip here of a piece of
Spike's interview of me and Brian and Spike talking about um,
well you'll just hear So here you go. Here's the clip.
(26:28):
Study the trees. As a trombonist, I was bluffing wildly
because something had to happen. Can't bluff on trombo, and
you have to First of all, you have to have
very long arms. Many asked me to say that. Now,
first of all, you do need long arms, because she
tried it and failed because she couldn't read. She didn't
have long enough. But you know they do also in
soprano trumbones. There's a future for you. I was just
(26:53):
that bad that they didn't even tell me about. And
now you're finding out it takes. I've actually got a
soprano trombone that's like that. Okay, so you get the idea. Yeah,
so this is what happens. Like I mean, I clearly,
(27:14):
as everybody just heard, was denied the opportunity to play trombone.
And this and this is what happens in these interviews.
We get off topic a lot. We but in doing
it you learned something. Who knew that there were tiny
trombones no idea, I mean we trombone, we trombones, no clue.
That means that the we'se could actually play the trombone.
(27:36):
Say a small squirrel could play trambo, but I can't,
And nobody told me that. Well you can. Now you
could go back to it. You know what the point
is is that I'm just not good enough to play
the trauma because nobody told me they were we trombone.
They broke your heart, they broke your trombone spirit, broke
my trama straight. And I've moved on all right, frankly,
(27:58):
better and bigger things. I would submit. I don't need you, trombone.
I don't. Yeah, take that trump, tiny trombone. Okay, So
the last Lightning round of season one? Are you ready?
I'm ready? Well, So we've asked other people this in interviews,
and I can't believe I haven't asked you. So what
(28:20):
new band are you into? For our music question? Oh,
there's there's tons. I love Prima Donna, I love Palmira
del Rand, I love the Struts. I love all sorts
of bands that are sort of newish. You know. I
guess I tend more towards that sort of raw, almost
(28:43):
garage rock kind of stuff. You know that that is
being played funny enough on the Underground Garage Series twenty
one all the time. So I really gravitate towards that.
There's so many great artists over there. Nice, very nice. Okay.
The non music question, your idea of a perfect getaway.
(29:03):
I'm giving you options. Don't don't say anything. Stop A
there's it's only A and B. But I'm gonna make
this dramatic. A a five diamond resort or spa, or
be a remote cabin in the woods. Your idea of
a perfect getaway, Oh gosh, that's a tough one, I
(29:24):
think I do. I have to choose, But you have
to choose. That's what the lightning round is. I knew
you try to get out of it. Well, I have
to say, it depends on what I'm getting away from.
If I'm getting away from, say a lot of work
on a tour, I might tend to want a resort
where everything's done for you, because you know. But in
(29:44):
other cases, when you're more relaxed, and this time the
pandemic has offered us a lot of time to be relaxed,
then I might enjoy something that's more sort of like
you've got to cook every meal and go forage for
you know, hickory nuts and pine owns uh and and
firewood and things like that. That's also delightful. I love
it all. I cannot imagine you've foraging for hickory nuts.
(30:07):
It's happened. I was in a band called the Wild
Hickory Nut's okay, that's for another episode. True, yes it is,
and we'll have to say that for another time. I'm sorry.
This is the final n cliffhanger for season two. Oh
the Wild Hickory Nuts. I will talk about it in
season two. Will oh sad season? Oh no, a second tier,
(30:30):
another tier? Man from my other eye now coming halfway
down my face? Very sad. Well, guys, this has been
so much fun. And Spike, thank you so much again
for the amazing interview. Again, best encore i've heard all season. Brian,
this has been a treat. Look forward to catching you
again in season two. Yeah, absolutely many, Thank you so much,
(30:52):
and I just want to say thank you to all
the people who have subscribed to have you know, gone
on this journey with us. It's been absolute pleasure. We
love getting your comments and seeing all those cool reviews
and let's do it again. Yeah, and as Brian said,
please leave us a rating and review if you have
enjoyed the show. It really really helps other people find
(31:12):
the show and word of mouth is awesome. So we
love all of you guys. We know a lot of
you are doing it, you've written in, you've said that,
we love you for it. So thank you, as Brian said,
for being on this journey, for with with us, being
on this journey with us. Yeah, thank you guys. All right,
thanks Brian, Thank you many, Thank you everyone for listening.
(31:43):
On Tour and the after show our productions of I
Heart Radio and Black Barrel Media. This show is produced
by me Mandy Wimmer with executive producer Noel Brown. For
more information about on tour, visit our website black Barrel
Media dot com for behind the scenes photos from these
interviews and to questions for the after shows. Visit our
social media at ontour pod on Facebook, Instagram, and Twitter.
(32:06):
For more shows from I Heeart Radio and Black Barrel Media,
visit the I Heart Radio app, Apple Podcasts, or wherever
you get your favorite podcasts. M
You're listening to the After Show, the bonus episode series
for On Tour with Brian Ray. This is a production
of I Heart Radio and Black Barrel Media and I'm
your host Mandy Wimmer. In the after show, we dive
a little deeper into Brian's thoughts about certain parts of
the interviews, as well as expound a bit more on
his own experiences on tour. We cover a lot of
(00:32):
topics in this last after show of season one. We
revisit the premise of the show, the role of the
sideman versus frontman and the massive success that Spike and
others have had as sideman, and why Brian chose the
path he did. We talk about why it's okay to
fake it till you make it in the music business,
and what you do when a vital instrument like the
(00:53):
keyboard goes out during a show. We also chat about
the force that was Freddie Mercury and the longevity of
his music now being sung famously by Adam Lambert. Finally,
we hit the downside of fame when it comes to
paparazzi impress what really happens in the lag time between
sound check and showtime, and we gave you a behind
the scenes peek into the making of this show with
(01:15):
a clip from the cutting room floor from Spike's interview,
here's my conversation with Brian Right, Brian, how are you
this morning? Good many? How are you? Oh, I'm a
little bit sad this is our last episode of season one. Know,
(01:40):
it's like gone in a flash. That's crazy, so crazy.
It's been so fun. I can't believe we're already wrapping
up season Are you crying a little bit? There's one
tier for those of you out there don't believe it.
One tier is right crossing Well, so I feel like
(02:00):
it's very appropriate and I think it's good that Spike
let us into this that in this last after show
interview of season one, we talk about how this show
really got started, and that was the concept of the Sideman,
which was, you know, a concept that you had for
a show many many years ago. We all decided to
turn it into a podcast, and now we're not only
(02:21):
interviewing sidemen, we're also interviewing Frontman. We've got a number
of people on our list to interview for upcoming seasons.
There'll be a variety of people in season two. But
we really started with sidemen for season one because that
was the initial concept of the show. And I want
to talk about that for a second, because Spike set
out to be a lead, you know, and I think
there probably a lot of people set out with that
(02:41):
dream in mind. When you decided to be a musician.
You think I'm gonna be running the show, and sometimes
that just doesn't happen and you end up as a sideman.
But a sideman can have such an amazing career. And
so I want to talk about that a little bit
because you've got a lot of experience in this area. Yeah,
I sure do. Yeah, thanks, Well, I don't know. I
guess that, uh as is the case with Spike. I
(03:05):
started off by being enamored with stars like they happened
to be front men and women who were at the
front of the stage whose photos were seeing. It was
you know, Elvis, it was Chuck Barry, it was Little Richard,
you know Everly Brothers, it was Buddy Holly as all
these guys you know, and girls and you know, want
to Jackson and Edta James and you'd see these beautifully
(03:28):
done Hollywood photos and then you'd see him on its
solvent and be like, oh my God, this is so fun.
It's like so much energy around it. So yeah, you
also appreciated like Scotty Moore on guitar or Bill Black
or whatever over there, you know, but it is the
center focus for any of us, the inspiration that got
(03:51):
us started. So I mean, in my case, yeah, that
was my focus. I mean I foolishly wanted to be
a rolling Stone or abeat. You know, I was like,
I didn't admit that out loud, but I kind of
acted like I wanted that, and um, it just so
happened that, you know, to get to a place where
you would even have that freedom, you want some experience
(04:12):
under your belt. And in my case, I was able
to get that early and often with with you know,
Bobby Boris Pickett doing the Monster Match before that, and
then many things during Edda and after. But in my case,
there was a point at which I had had a
big hit record with Smokey Robinson right kind of made
(04:33):
it co wrote on the radio my arrangement, my song,
here's my song, there's my name on the radio, and uh,
Edda had been going now for four fifteen years, and
I wanted to do my own things. So I started
a band and I started playing all the local clubs
in l A, really enjoying it, having a great time.
(04:55):
But I wasn't all that ready. I wasn't all that confident,
and it was a little bit maybe it's more nervous
than it would make me to play with Eda. So
I ended up not feeling like that was my calling.
So I went back. I went back to being a sideman.
I worked with Rita Coolidge and Willie Deville and then
(05:15):
you know, Johnny Halliday and all that stuff. Well, only
after some time with Paul did I start feeling like
I didn't have anything left to prove exactly got it?
I really didn't, you know. I wasn't gonna live or
die on my solo career. It was something I could
do for fun and for free, to enjoy it, and
(05:38):
that took all the pressure off to have to perform.
And I'm super grateful to Paul of course, for giving
me sort of like a reason not to care about about,
you know, what people thought anymore, because I had proven
myself with him. Right, So, and then you went on
to you currently have a solo career, you're the frontman
for the Bayonets, and so really right there, right, yeah,
(06:01):
and had a great time doing it because there's nothing
really on the line. When you're younger and you're trying,
you know, your best to be a front person to
get accepted by the industry or by people, it's a
lot of pressure. I don't I literally don't give a
funk about that kind of about that kind of uh
you know, um approval anymore. Right, So, so the lesson
(06:25):
learned is take the pressure off, let the chips fall
where they may. That's right. Well, other people don't feel
the pressure the way I did. You know, they're just
born to be frontman. They're you know, in front women
who are just very sort of gregarious. But I think
a lot of people do feel that pressure. I mean
they want to be that front man, even to be
a side man. I think people feel that pressure. And
(06:46):
we talked to Leroy Bennett, who's an insane producer, but
he straight up said in the beginning of his interview
that he learned early on that he had massive stage fright.
Everyone and his family were performers. He wanted to be
a performer but realized he couldn't, and so his way
to perform was with lights and design. You know, still
be in the business, So you know, I do, I
(07:07):
do think that people probably feel that pressure. So very
very interesting story. Yeah, no, very very cool. Well you've
certainly had a great career. Yeah, fortunate and uh yeah,
fortunate and busy. Yeah, exactly exactly. So another thing that
a little bit piggybacking off of that, Spike really talks
about how he doesn't use these words, but I'll use
(07:28):
these words. You need to fake it till you make it.
You know. He had a couple of really interesting stories
that were pivotabal pivotal points in his career where he
said yes to things that he was not ready for.
He was absolutely he go he walks into the string
Fellows club wanting to be a bartender or a buzz boy,
(07:48):
and he ends up playing jazz piano, which he has
no idea how to play, and that then leads to queen.
I mean, it's that's I guess my lesson learned here
and probably everyone out there just just do it. Just
say yes, you know, just say yes and figure it out.
I know I've certainly done that with a couple of
jobs in my life. But you know, what's the worst
(08:09):
that can happen? You get you can't do it you
get fired and you tried. You know, it's so fascinating
that you would just quote that, and not that it's
a very obscure phrase, but just say yes was the
basis of some guitar clinic stuff that I did like
twelve years ago. The whole thing was based on just
say yes. And and then I got some feedback from
somebody who said, well, no is very very important, and
(08:32):
it's very powerful to say no to things, you know,
or you'll just you know, delute your yourself. And I said, yeah,
but you've got to get into a position of power
and authority to be able to say no. So my
thing was to say yes to every possible potential um,
you know, opportunity and uh. And you know, I think
(08:54):
that for me, it's sort of like you have to
make a good bluff and then your bluff good, you know,
like every every one of the opportunities that I've been
so lucky to have in my life with Edda, with uh,
you know, Paul, with Rida Coolidge, all those started on
the most strange circumstances like, for instance, read a Coolidge
(09:18):
a sixty dollar blues gig playing four sets at a
little club in the Valley you want to do it
or not, And and the drummer happened to be uh
read a Coolidge just band leader and a guitar player
couldn't make the next gig. Would I like to come
in sub for that guitar player? And I said yes,
(09:41):
And then it turned into four years with her traveling
all over the world. So that's that's sort of the
basis of so many of these careers. And Spike is
like that as well, you know. Well, and he wasn't
even ready to play for Queen. He didn't know a
single Queen song exactly, I mean, and he just what
he thought he was going to an audition, completely unprepared,
and obviously it's best to be prepared. And he even
(10:03):
talks about that how bands really like it when you
actually know their music because there's less to learn. But
you know, he wasn't prepared, and he went anyway. He
was ready to sit in a room with two people
and bluff his way through it and just try at least.
And here he's been with Queen for thirty seven years.
(10:29):
And then he talks about how the piano was such
a big instrument in the band Queen, and they did
not have a backup piano for him until this recent tour,
something goes wrong with his piano, the show is dark
for nine and a half minutes. I mean, what what
would you possibly do for nine and a half minutes.
(10:50):
I mean, my my mind immediately goes to if a
band doesn't come back on for an encore after forty
five seconds, everyone's bailing, right, you know. So, I mean
maybe people wouldn't you that in the middle of a show,
but nine and a half minutes that's extremely long time.
I mean, I can't even imagine being on hold for
nine and a half minutes. Well, so, in his case,
he's playing keyboard, which is a distinction from piano in
(11:13):
that on keyboard he can play, as we were saying
in the interview, a multitude of instruments, whereas piano was
really was um Freddie's instrument, whereas his, uh, the keyboard
is very very important to all these songs because on
that keyboard he'll have some percussion bits. He might have
a background vocal hero there that he triggers by playing
(11:34):
the keyboard, the synthesizer, or he might have strings or horns,
and people may not understand what are you doing up there?
What's that second thing for up there? In in our case,
Wicks Wickens plays keyboard and um on that keyboard, he
can also play the piano instrument. It sounds like a piano,
but it's played on the keyboard. So in any in
(11:56):
any case, what do you do when the keyboard goes out? Well,
I mean it's a big deal. And in the case
of Queen, they have a bunch of songs that they
could just the lead singer could call what they call
call in audible. He would tell the monitor guy or
somebody privately, call someone up on stage and he would
(12:16):
spread the word over the system that we're jumping to
a different song. And everyone who has is involved in
the tour, video, lights, screens, texts, every everyone's moving, everyone's
on a headset, there are departments. Everyone's on a headset.
And that's how it works. But it starts with word
(12:38):
of mouth from the artist. It would be Freddie or
our case, Paul would spread the word call in audible.
We jumped to a song that doesn't require all that
intense keyboard or and then during that song, Wicks or
Spike or over there freaking out with their you know, tech,
trying to figure out what went wrong. And in Spike's case,
(13:01):
you know, he uh found that weakness in production before
there was a need. Thank god. In our case, we
we've addressed it as well. Right, Well, that's the thing.
It's like, just address it and be ready and when
you have a plan B typically you don't need to
use it. As Spike talks about, So Freddie. So Freddie Mercury,
I mean he is, you know, and an icon. Of
(13:23):
course I didn't know Freddie. I mean he died, I
believe when I when I was very young, if I recall.
But clearly everybody who loves music knows who Freddie Mercury
is or whether he had passed before you are alive
or not. And that's an interesting thing that Spike talks about,
is that this wasn't where I was going with us,
but I'm going to talk about it now that uh,
people today are filling stadiums for Freddie Mercury songs who
(13:47):
were not alive when Freddie wrote these songs that performed
these so interesting, that is so amazing how his songs
have lived on that they're still selling out stadiums. Obviously,
went from Paul Rodgers to Adam Lambert and Adam Lamberti's
huge with younger audiences. But but it's the music. I mean,
if Atta Lambert was singing horrible music, it wouldn't be huge,
(14:07):
you know. So that's just a tribute to Freddie. Yeah,
it is. It's the durability of great art, you know,
and there's we're not lacking in great art right now,
and great artists right now there are tons of them.
You may have to search a little harder to find
them because because of the dynamics of the business now,
like the business is sort of like free range. Everybody
(14:29):
has the same access to getting your attention, and that's
a very little little chance of getting your attention, So
there's a lot of people clamoring for your attention. Back then,
the labels would decide who you're going to give your
attention to. It's a different thing now. There are still
a few big labels, but there's a durability factor that, uh,
(14:52):
I don't see quite as much music that I would
project that in thirty years kids will be clamoring to
hear that's being made right now. There's something very special
about the era between the fifties and the two thousands.
Let's say that just sort of you know, people can't
get enough of it doesn't die. Yeah, I mean some
(15:14):
my my favorite musicians to this day are are much older.
We were just talking about Tom Petty. Petty is my
favorite of all time. I think he always will be.
I just watched a video by the band, and you know,
it's just it's so durable. It doesn't sound fashionable. It's
just great. Thank god, these people gave us so much
amazing music that we're never going to run out. I mean,
(15:35):
it just breaks my heart that we're not getting new
music from Tom Petty and Prince and people like that.
But I mean, thank god they left us what they
left us. But back to Freddy, I do and we
talked a little bit about this with Elton John, but
I just think this is fascinating that he is such
a massively huge personality on stage and Spike talks about
how he just sells it. I mean, he gets out
there and he's just you know, he's just like a
(15:58):
force of nature on stage, and then backstage he is
very shy, very reserved, and leads the band in trivial
pursuit after parties. I mean, that's so cute how they
just get everybody together the band, the crew, everyone in there.
You know, Okay, let's finish the trivial pursuit party from
last night, after the last show. You know, like that's
(16:20):
what he's excited about after a show. I just found
that so cute, what a fun part of his personality. Exactly. Well,
the last thing you want to do it and after
party is talk about the show. And there are some
artists that do they want to they want to sit
down and watch the videos of the show. We won't
name names. Oh we name names. Okay, Well there are
many others as well, and I won't go into those.
(16:41):
But you know, I mean, you just worked your ass
off all night long, and and it isn't easy, Okay,
it requires a lot of you. It may look like,
you know, bunnies and toadstools, but it's more than that.
It's also bunnies and toadstools, but it's anyway, it's a
(17:04):
lot of work. And when you're done with that work,
you want to change. You have a palett cleanser and
just have a laugh and do something else. And that's
play some to real pursuit and let's go and then
just you talk about that really humanizes Freddie. I mean,
a lot of people don't understand. I mean, paparazzi and
you know, magazines and and everything just you know, are
(17:26):
all over these people. And obviously, you know, there's something
to be said that when you go into that life
of being famous or kind of in that realm, that
some of that's to be expected. You open yourself up
to people being interested in your life, and that goes
with the territory. But these people are also human. And
Spike talks about how it was a magazine or a
(17:47):
newspaper in the headline was what's wrong with you Fred,
you know, when he wasn't talking about the fact that
he was really sick. It's just like, at the end
of the day, that's a human, you know, and he's dying.
Can you give him a break? Yeah? It is brutal, um,
But many say that the British press is more brutal
than anyone's press. And I hate to say that. I'd
(18:11):
hate to think that. I am not a British subject
or citizen, so I don't have direct experience being the
subject of that kind of stuff, thank god. But man alive.
They can be tough over there, and uh, you know,
we can be tough here as well, but they're particularly
nosy and cruel sometimes, and I think that he suffered
(18:32):
as a result of that. But you're right, you have
decided that you're laying your life open to a degree,
or that you're going to be a subject of curiosity.
So it's sort of like you're asking for it if
you're a front man, right, or or you know anyone
who's kind of in like the ancillary circle. I mean,
it kind of comes with the territory. But at some
point it's like, come on, like, let's remember everybody's human here.
(19:11):
I can't believe I have never thought about this, and
I have not asked you about this, but Spike brings
up a really good point when they were rehearsing with
Paul Rodgers and that that painful time between sound check
and actually doing it. You know that you you guys
have sound check mid afternoon, two or three in the afternoon,
and then you're not going on until eight thirty, you know,
(19:32):
something like that, and whatever the time is, there's four
plus hours of lag time. What are you doing? What
do you possibly do backstage? You cannot tell you. That's
a trade secret. I can't get into that. No, well,
you know, it's a good question. We we get there,
it's around four sound check, uh is done by about
(19:55):
six because then doors have to open. So there's quite
a long bit of time after sound check for the
promoter and the production to get the crowd comfortable, to
get them in in a sane sort of uh at
insane velocity, and get the place settled and everyone seated
before you want to start the show at a thirty
(20:17):
or nine. So it's a lot of work. And the
bigger the venue, the more time they need. So as
you get into a stadium and now you have sixty people,
and you're saying South America where people take their time
a little bit more getting in, I mean, it's just
general true. They they take a little bit more time
to get into a stadium. Uh. In that part of
(20:38):
the world. It's just what happens. So you end up
sound checking earlier and starting a little later, so that
lag time gets even greater. But there's stuff to do,
you know. Um, you get to relax for one thing. Uh,
and we in in our band get to go into
sort of it's like a cave. It's very dark in
their lights are down low. Our wardrobe team has made
(21:02):
a beautiful like um room out of a locker room basically,
you know, and it's really nice and they're they're so
lovely and our crew and team are just so amazing. Um.
But anyway, there's lots to do. But you'll, you'll, if
you were to dip into our dressing room before a show,
you'd see a lot of quiet, you know. Yeah. Well,
and then you also you get a chance to hang
(21:23):
with people who have come to see your show, and
you know, I've been back there with you a little bit. Yeah,
you get to actually, you know, spend a little bit
of time with people before you go on stage. And
but I mean obviously that doesn't take up all the time,
so you're you're in a lot of quiet. Well not really,
I mean it's sort of like end of end of
sound check. We would typically eat pretty quickly because you
(21:47):
want to eat, it's long before the show is possible.
Then it's the chill time. Then it's time to see
the guests, then it's time to get ready. So it's
all broken up into so it goes by pretty Yeah,
it really does. Interesting. Yeah, I know that that makes
total sense. Okay, So the encore for this interview, I
honestly think was probably one of my favorite. It was
(22:07):
an awesome OnCore to end. For episode eight of our
last episode of season one, he no story is the best,
not from him from an audition because he hasn't really
had a proper audition, but from fidelic Castro. He tries
to do a show in Cuba and he gets a
no back from fidelic Castro. I mean, come on, let's
I can't believe fidel Castro even responded, Yeah, I know,
(22:30):
it's just like no, that was the entire letter. There's
one word on it. No. God did he say he
still has that letter? I pray still has that letter.
I don't know. That's hilarious though. I love that story,
completely hysterical. And then his most embarrassing moment was when
he was playing playing keyboard. He was musical director for
(22:51):
the nel for Nelson Mandela and this huge show and
someone else is playing with him and I can't even
remember who it was. I was cracking up through this
whole story. But they were having to switch keys in
the middle of the song, and there was someone that
supposed to cue them to switch keys, and he cued
them early, and so the keyboards were then leading the
whole band in this song, so they switched to the
(23:13):
wrong key. They throw off the entire band because nobody's
ready for it, and just completely started. Then they're trying
to go back and he's like, it's just you know,
it's a tornado of ships. No, it's D not G
And they're right reading lips and they both look the
same when you say them, Oh god, hysterical. I mean,
(23:34):
have you guys ever had anything like that? Were like,
you've just played the wrong thing, and oh yeah, yeah,
we we have counted the song and three people played
it one way, and to played it a different song,
a different song, a different song they just heard or
thought a different thing. Well, let's just say one person
started a different song and you're not gonna do us anymore.
(23:57):
I can't give no, but it happens. I think that
it just proves that we're human. And when we'll have
like say a little moment like that, something like that,
Paul will say, hey, it proves we're live. It's real,
and people applaud it, and it's a funny thing. People
in the crowd actually enjoy it because they have been
(24:18):
now they've experienced an unusual, unique moment that nobody else
has had. It kind of makes you feel like family,
like you're on the inner circle. You know you saw
the mess up, Yeah, you know, like you didn't see
like the proper polished everything right, Like you kind of
saw how the sausage was made sort of a thing
a little bit. Yeah, that's that's good. Rapping up here
(24:39):
his Serbia story. They go into a war zone to
play a show and he is in Budapest and they
are supposed to get on a bus with goats and
chickens to get there, okay, and he doesn't, which I
even told him after the interview. Come on, man, like
I really wanted that visual of you guys with your
instruments on the bus with the chickens and the goats,
(25:02):
Like why can't you give me that? I know we
need footage of that. I mean, I need to prove
that that happened. But I mean it begs the question,
if you haven't written a city bus with chickens and
goats and randos, have you really paid your dues? That's
what I want answer the answers no, and then you
(25:23):
move on to you get but you think it's better
now to get in taxis with people you don't speak
the language. They're going a hundred miles an hour. They're
stopping on the side of the road to buy black
market gas, and then when you don't have enough gas,
you have to walk to a farm and stay in
a barn of some new rando, Like, what the hell's happening?
(25:44):
You know, the glory and the majesty of rock and roll. Well,
you gotta serbia somebody. That's what the phrases. Oh my god, hysterical,
It's just hysterical. Okay. So we've talked a couple of
times about these interviews go on for a very long time.
Most of these interviews are two plus hours long, and
(26:06):
we're gonna let you into a little bit of behind
the scenes of why that happens, because we get a
little distracted in these interviews and we have to bring
ourselves back on track. And so we're gonna cut in
a forty five second clip here of a piece of
Spike's interview of me and Brian and Spike talking about um,
well you'll just hear So here you go. Here's the clip.
(26:28):
Study the trees. As a trombonist, I was bluffing wildly
because something had to happen. Can't bluff on trombo, and
you have to First of all, you have to have
very long arms. Many asked me to say that. Now,
first of all, you do need long arms, because she
tried it and failed because she couldn't read. She didn't
have long enough. But you know they do also in
soprano trumbones. There's a future for you. I was just
(26:53):
that bad that they didn't even tell me about. And
now you're finding out it takes. I've actually got a
soprano trombone that's like that. Okay, so you get the idea. Yeah,
so this is what happens. Like I mean, I clearly,
(27:14):
as everybody just heard, was denied the opportunity to play trombone.
And this and this is what happens in these interviews.
We get off topic a lot. We but in doing
it you learned something. Who knew that there were tiny
trombones no idea, I mean we trombone, we trombones, no clue.
That means that the we'se could actually play the trombone.
(27:36):
Say a small squirrel could play trambo, but I can't,
And nobody told me that. Well you can. Now you
could go back to it. You know what the point
is is that I'm just not good enough to play
the trauma because nobody told me they were we trombone.
They broke your heart, they broke your trombone spirit, broke
my trama straight. And I've moved on all right, frankly,
(27:58):
better and bigger things. I would submit. I don't need you, trombone.
I don't. Yeah, take that trump, tiny trombone. Okay, So
the last Lightning round of season one? Are you ready?
I'm ready? Well, So we've asked other people this in interviews,
and I can't believe I haven't asked you. So what
(28:20):
new band are you into? For our music question? Oh,
there's there's tons. I love Prima Donna, I love Palmira
del Rand, I love the Struts. I love all sorts
of bands that are sort of newish. You know. I
guess I tend more towards that sort of raw, almost
(28:43):
garage rock kind of stuff. You know that that is
being played funny enough on the Underground Garage Series twenty
one all the time. So I really gravitate towards that.
There's so many great artists over there. Nice, very nice. Okay.
The non music question, your idea of a perfect getaway.
(29:03):
I'm giving you options. Don't don't say anything. Stop A
there's it's only A and B. But I'm gonna make
this dramatic. A a five diamond resort or spa, or
be a remote cabin in the woods. Your idea of
a perfect getaway, Oh gosh, that's a tough one, I
(29:24):
think I do. I have to choose, But you have
to choose. That's what the lightning round is. I knew
you try to get out of it. Well, I have
to say, it depends on what I'm getting away from.
If I'm getting away from, say a lot of work
on a tour, I might tend to want a resort
where everything's done for you, because you know. But in
(29:44):
other cases, when you're more relaxed, and this time the
pandemic has offered us a lot of time to be relaxed,
then I might enjoy something that's more sort of like
you've got to cook every meal and go forage for
you know, hickory nuts and pine owns uh and and
firewood and things like that. That's also delightful. I love
it all. I cannot imagine you've foraging for hickory nuts.
(30:07):
It's happened. I was in a band called the Wild
Hickory Nut's okay, that's for another episode. True, yes it is,
and we'll have to say that for another time. I'm sorry.
This is the final n cliffhanger for season two. Oh
the Wild Hickory Nuts. I will talk about it in
season two. Will oh sad season? Oh no, a second tier,
(30:30):
another tier? Man from my other eye now coming halfway
down my face? Very sad. Well, guys, this has been
so much fun. And Spike, thank you so much again
for the amazing interview. Again, best encore i've heard all season. Brian,
this has been a treat. Look forward to catching you
again in season two. Yeah, absolutely many, Thank you so much,
(30:52):
and I just want to say thank you to all
the people who have subscribed to have you know, gone
on this journey with us. It's been absolute pleasure. We
love getting your comments and seeing all those cool reviews
and let's do it again. Yeah, and as Brian said,
please leave us a rating and review if you have
enjoyed the show. It really really helps other people find
(31:12):
the show and word of mouth is awesome. So we
love all of you guys. We know a lot of
you are doing it, you've written in, you've said that,
we love you for it. So thank you, as Brian said,
for being on this journey, for with with us, being
on this journey with us. Yeah, thank you guys. All right,
thanks Brian, Thank you many, Thank you everyone for listening.
(31:43):
On Tour and the after show our productions of I
Heart Radio and Black Barrel Media. This show is produced
by me Mandy Wimmer with executive producer Noel Brown. For
more information about on tour, visit our website black Barrel
Media dot com for behind the scenes photos from these
interviews and to questions for the after shows. Visit our
social media at ontour pod on Facebook, Instagram, and Twitter.
(32:06):
For more shows from I Heeart Radio and Black Barrel Media,
visit the I Heart Radio app, Apple Podcasts, or wherever
you get your favorite podcasts. M
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